Marsalis' love of the music of Bach, Beethoven, Mozart and others drove him to pursue a career in classical music as well. The New York Philharmonic, Los Angeles Philharmonic and the Barbican have all signed on to perform Swing Symphony.
Employing complex layers of collective improvisation, Marsalis further expanded his repertoire for symphony orchestra with Swing Symphony, premiered by the renowned Berlin Philharmonic in June 2010, creating new possibilities for audiences to experience a symphony orchestra swing. By infusing blues and ragtime rhythms with symphonic orchestrations Wynton creates a fresh type of enjoyment of classical repertoire.
In the fall of 2009 the Atlanta Symphony Orchestra premiered Marsalis’ composition Blues Symphony. Marsalis collaborated with Ghanaian master drummer Yacub Addy to create Congo Square, a groundbreaking composition combining elegant harmonies from America’s jazz tradition with fundamental rituals in African percussion and vocals (2006).įor the anniversary of the Abyssinian Baptist Church’s 200th year of service, Marsalis blended Baptist church choir cadences with blues accents and big band swing rhythms to compose Abyssinian 200: A Celebration, which was performed by the Jazz at Lincoln Center Orchestra and Abyssinian’s 100 voice choir before packed houses in New York City (May 2008). Marsalis extended his achievements in Blood On The Fields with All Rise, an epic composition for big band, gospel choir, and symphony orchestra - a classic work of high art - which was performed by the New York Philharmonic under the baton of Kurt Masur along with the Morgan State University Choir and the Lincoln Center Jazz Orchestra (December 1999).
#Classical compositions from 1998 free#
Duke Ellington’s shadings and themes come and go but Marsalis’ free use of dissonance, counter rhythms and polyphonics is way ahead of Ellington’s mid-century era.”
#Classical compositions from 1998 full#
The New York Times Magazine said the work “marked the symbolic moment when the full heritage of the line, Ellington through Mingus, was extended into the present.” The San Francisco Examinerstated, “Marsalis’ orchestral arrangements are magnificent. In his dramatic oratorio Blood On The Fields, Wynton draws upon the blues, work songs, chants, call and response, spirituals, New Orleans jazz, Ellingtonesque orchestral arrangements and Afro-Caribbean rhythms and he uses Greek chorus-style recitations to move the work along. His inventive interplay with melody, harmony and rhythm, along with his lyrical voicing and tonal coloring assert new possibilities for the jazz ensemble. With Citi Movement, In This House On This Morning and Blood On The Fields, Wynton invented a fresh conception for extended form compositions. He extended the jazz musician’s interplay with the blues in Levee Low Moan, Thick In The South and other blues recordings. He re-introduced the joy in New Orleans jazz with his recording The Majesty Of The Blues. With his collection of standards arrangements, Wynton reconnected audiences with the beauty of the American popular song ( Standard Time Volumes I-VI). Marsalis collaborated with the Lincoln Center Chamber Music Society in 1995 to compose the string quartet At The Octoroon Balls, and again in 1998 to create a response to Stravinsky’s A Soldier’s Tale with his composition A Fiddler’s Tale. The dance community embraced his inventiveness by awarding him with commissions to create new music for Garth Fagan ( Citi Movement-Griot New York), Peter Martins at the New York City Ballet ( Jazz: Six Syncopated Movements and Them Twos), Twyla Tharp with the American Ballet Theatre ( Jump Start), Judith Jamison at the Alvin Ailey American Dance Theatre ( Sweet Release and Here…Now), and Savion Glover ( Petite Suite and Spaces). Jazz artist Wynton Marsalis is a prolific and inventive composer.
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